Margarethe von Trotta’s documentary reminds us of the reasons for Bergman’s continued influence on cinema today.
Criterion has sensitively restored Cold Water, allowing Americans to finally savor the film's simultaneously dreamy and docudramatic vitality.
Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.
A ghost story as much about the vanity inherent to international stardom as it is coming to terms with grief and death.
A very charitable reading might say that Roman Polanski’s Based on a True Story is designed to be self-negating.
The French filmmaker is given to speaking of intuition in ironically ritualistic terms.
The film explores the extent to which Olivier Assayas’s characters have always found, and lost, their identities.
Clouds of Sils Maria is pat and self-conscious, though it’s certainly a remarkably acted formal object.
No other film at Cannes this year has had quite the same shock of the strange as Olivier Assayas’s latest.
For Assayas and Almodóvar, their films represent holding patterns like those that their characters can’t escape from.
A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
The auteur discusses his Clouds of Sils Maria’s two-hander premise and working with Binoche and Stewart.
Juliette Binoche and Kristen Stewart’s co-inhabitance on the screen works so well because it’s a non-encounter.
Olivier Assayas’s film is content to comfortably coast along the directionless courses charted by its characters.
Thematic preoccupations are what make individual filmmakers so intriguing as one steps back to examine certain artist’s entire careers.
The film is a wry tribute to the idealistic kids forced to follow in some mighty big footsteps.
Fittingly enough, he who lives by the balls ends up pinched by the balls.